The Unlikely Pilgrimage of Harold Fry – Minerva Theatre, Chichester

Mark Addy and company in The Unlikely Pilgrimage of Harold Fry at the Minerva Theatre, Chichester. Picture: Manuel Harlan

The Unlikely Pilgrimage of Harold Fry continues at the Minerva Theatre, Chichester until 14 June 2025.

Star rating: five stars ★ ★ ★ ★ ★

“Flawless” isn’t an adjective I find cause to use very often in reviews. This time, however, it expresses my reaction perfectly.

Based on Rachel Joyce’s 2012 novel, The Amazing Pilgrimage of Harold Fry is an almost unbearably moving story about reconciliation, forgiveness and grief, given new, very beautiful vibrant life in this outstanding production: effectively a folk opera.

The titular Harold (Mark Addy – wonderful performance) receives a letter from a former work colleague, who he hasn’t seen or heard from for 20 years. She tells him she is dying in a hospice in Berwick-upon-Tweed. To the astonishment of his anxious but initially chilly wife Maureen (Jenna Russell – good), he decides he must walk there from his home in Devon to save Queenie (Amy Booth-Steel).

Gradually, as Harold trudges north, the back story unfolds and we learn that Harold’s inner turmoil relates to his troubled son David who he hasn’t also been in touch with for 20 years and something which happened at work at about the time of David’s disappearance.

On the way he learns from the many different people he encounters – all of them ordinary people such as a Garage Girl (Sharon Rose), Martina (Madeleine Worrall), the doctor from Bratislava who can only get cleaning work in Britain. Then there’s the “the silver-haired gentleman” (Don Gallagher) who is looking for the courage to buy a gift for the young man he fancies and to come out as gay.

Along with Joyce’s libretto, it is all magnificently integrated by Passenger’s engaging music, of which more shortly, and an imaginatively choreographed/directed (Tom Jackson Greaves/Katy Rudd) ensemble of 11 who play dozens of colourful roles. The physical theatre elements include their becoming sheep, horses and an apple tree and they dance and sing even as they wheel doors, counters, phone boxes and steps on and off stage. Often they sit, in shadow, round the edge of the Minerva’s circular thrust stage. It’s seamless and immaculate.

Passenger (aka Mike Rosenberg) provides evocative songs with terrific lyrics which use words wittily and poignantly. The ‘Balladeer’ (Jack Wolfe) who also represents David Fry, sings with silvery sadness. And there are some priceless set pieces such as Worrall’s hilarious ‘You’re Fucked’ number and Rose’s ‘Walk Upon the Water’.

Not everyone in the cast is a ‘real’ singer (although Rose and Worrall, in particular, are excellent) but that just adds to the gritty everyman flavour of the story.

Samuel Wyer’s design places the band on two high-level balconies either side of the stage, is outstanding in a whole range of styles including a barn dance and a morris dance display (Chris Poon is musical director). Especial praise goes to Clodagh Kennedy for some bravura fiddle playing both on and off stage.

Above all The Amazing Pilgrimage of Harold Fry tugs the heartstrings  in a richly affirmative way without ever being mawkish or sentimental. I doubt there was a dry eye in the room at the end.

I very much hope this gently powerful show transfers to London and/or tours because it deserves to be seen widely.

Susan Elkin